A lоcаl fаrmer hаd an оrchard оf 1000 orange trees and they were interested in determining the true average amount of oranges that grew on their trees during the last year. However, they didn't have time to count the number of oranges from all 1000 trees, so they randomly selected 10 trees and found that the average number of oranges for those 10 trees was 243. Use this information to answer the following question. In this scenario, the overall group of 1000 trees would be considered what?
Questiоn: In this week's cоntent, yоu leаrned аbout the models for culturаlly competent care discussed in the AACN source. For this question, please examine each model (click on the accordions below to refresh your memory) and in a video or voice recording reply put together a new model of cultural competence named after yourself. In order to do so, Pick the values for each model that YOU consider to be the most important or salient. Combine the values into one new model Nursing Models for Culturally Competent Care: Campinha-Bacote Model of Cultural Competence Cultural Awareness: The nurse becomes sensitive to the values, beliefs, lifestyle, and practices of the patient/client, and explores her/his own values, biases and prejudices. Unless the nurse goes through this process in a conscious, deliberate, and reflective manner there is always the risk of the nurse imposing her/his own cultural values during the encounter. Cultural Knowledge: Cultural knowledge is the process in which the nurse finds out more about other cultures and the different worldviews held by people from other cultures. Understanding of the values, beliefs, practices, and problem-solving strategies of culturally/ethnically diverse groups enables the nurse to gain confidence in her/his encounters with them. Cultural Skill: Cultural skill as a process is concerned with carrying out a cultural assessment. Based on the cultural knowledge gained, the nurse is able to conduct a cultural assessment in partnership with the client/patient. Cultural Encounter: Cultural encounter is the process that provides the primary and experiential exposure to cross-cultural interactions with people who are culturally/ethnically diverse from oneself. Cultural Desire: Cultural desire is an additional element to the model of cultural competence. It is seen as a self-motivational aspect of individuals and organizations to want to engage in the process of cultural competence. Giger and Davidhizar's Model of Transcultural Nursing Communication: The factors that influence communication are universal, but vary among culture-specific groups in terms of language spoken, voice quality, pronunciation, use of silence, and use of nonverbal communication. Space: People perceive physical and personal space through their biological senses. The cultural aspect of space is in determining the degree of comfort one feels in proximity to others, in body movement, and in perception of personal, intimate, and public space. Social Orientation: Components of social organization vary by culture, with differences observed in what constitutes one’s understanding of culture, race, ethnicity, family role and function, work, leisure, church, and friends in day-to-day life. Time: Time is perceived, measured and valued differently across cultures. Time is conceptualized in reference to the lifespan in terms of growth and developments, perception of time in relation to duration of events, and time as an external entity, outside our control. Environmental Control: Environment is more than just the place where one lives, and involves systems and processes that influence and are influenced by individuals and groups. Culture shapes an understanding of how individuals and groups shape their environments and how environments constrain or enable individual health behaviors. Biological Variations: The need to understand the biological variations is necessary in order to avoid generalizations and stereotyping behavior. Biological variations are dimensions such as body structure, body weight, skin color, internal biological mechanisms such as genetic and enzymatic predisposition to certain diseases, drug interactions, and metabolism. Leininger's Cultural Care Diversity and Universality Theory/Model Care (caring) is essential to curing and healing, for there can be no curing without caring. Every human culture has lay (generic, folk, or indigenous) care knowledge and practices and usually some professional care knowledge and practices, which vary transculturally. Culture care values, beliefs, and practices are influenced by and tend to be embedded in the worldview, language, philosophy, religion (and spirituality), kinship, social, political, legal, educational, economic, technological ethnohistorical, and environmental contexts of cultures. A client who experiences nursing care that fails to be reasonably congruent with his/her beliefs, values, and caring lifeways will show signs of cultural conflict, noncompliance, stress and ethical or moral concern. Within a culture care diversity and universality framework, nurses may take any or all of these culturally congruent action modes including: cultural preservation, maintenance of patients’ and families’ existing patterns of care and health behaviors, cultural accommodation/negotiation to modify patterns of care, and cultural restructuring/repatterning to change or repattern cultural care behaviors. Purnell's Model of Transcultural Health Care Global Society: Worldwide systems of politics, communication systems, commerce and economics, technologies and events, and the way these global systems shape the individual's or person’s worldview form the global society. Community: A community is a group of people having a common interest or identity; goes beyond the physical environment to include the social and symbolic characteristics that case people to connect. Family: Two or more people who are emotionally involved, whether they live together or not, may constitute a family. Family structure and roles vary. The Person: The person is conceptualized as “a biopsychosociocultural human being who is constantly adapting.” Health: Health is viewed as permeating aspects of culture, and defined at different levels, global, national, regional, local to the individual. Views of health consider the ethnocultural perspective of a cultural group, and relates to the physical, mental, and spiritual states in the context of the people and their interactions with the family, community and the wider world.
Nоw thаt yоu hаve creаted a new mоdel, in a video or voice recording reply please answer the following questions: Why do you think you picked the values you did for your new model? Why do those elements matter to you as a nurse? Do you believe you already bring those values to your care? If not, how do you think you can begin to incorporate them?
Pаssаge #1 My Jоurney in Phоtоgrаphs A I got my first real job at age 12, as a waitress. I am convinced that I learned more as a waitress than I ever did in a classroom. It certainly was more interesting. And when I went on to college, it paid for tuition and housing and, eventually, a camera. It allowed me to rent an apartment and feed myself (chicken pot pies, four for a dollar!). But best of all, being a waitress taught me to quickly assess and understand all kinds of people. I learned how to make small talk and how to quickly put people at ease— great training for a journalist. Waiting tables also taught me teamwork and service and humor. For the first eight years, I loved it. For the final two years, I just wanted to be a photographer. B From the moment I picked up a camera, I was hooked. I lost interest in other studies, and all I wanted to do was take pictures for the university newspaper, the Minnesota Daily. The paper at that time was one of the largest in the state and was produced by young journalists who went on to work at every major magazine in the country. In six months, I was able to get a lot of great experience. The week I finished college, I was contacted by the Worthington Daily Globe, a regional daily newspaper in southern Minnesota with a history of excellence in photography. It was wonderfully printed with fantastic photographs. By some miracle I was hired, and the two-year experience that followed was like a master class in photojournalism. C Jim Vance was the top-notch publisher of the Globe. He had very high expectations of all the staff. With little or no instruction from him, writers and photographers were expected to fill the paper with stories that were important to our readers. I didn’t know it at the time, but this independent reporting was perfect training for my future career at National Geographic. D Among the most important things I learned at the Globe was that if you can make friends with a shy Norwegian farmer and be invited to his kitchen table, you can probably do well in any culture on Earth. I worked with a wonderful writer named Paul Gruchow. Together we would search the farming communities for stories. Paul had grown up on a farm himself and lived through personal tragedy, so he was able to project warmth and understanding to anyone he met. Farmers would invite us into their homes and willingly share their personal thoughts with us. From Paul I learned how to be a patient listener as well as the importance of giving each subject time and sincere attention. E It was while I was working at the Globe that I happened to answer the phone one morning. A man’s voice asked, “You a photographer?” When I replied that indeed I was, the voice responded, “This is Bob Gilka. National Geographic. I need a hail damage picture. You guys get a big hailstorm last night?” I overcame my nervousness and said, “Yes, sir.” When he asked if I could take the picture for him, I again said, “Yes, sir.” Thus began one of the most important relationships of my life, with the legendary Director of Photography at National Geographic, Bob Gilka. F Bob was always looking for talented photographers to join his team, and he was not easily impressed. As he used to say, “I am knee-deep in talent, but only ankle-deep in ideas. I want people with ideas!” He was a man of very few words, so every word was heard. Praise from Bob meant as much to most photographers as a Pulitzer Prize. G My little picture of hail damage in southern Minnesota was well received, and a year later, I was working for Bob. I was the youngest photographer working for National Geographic when I arrived in 1978, and I spent at least a decade just trying not to make mistakes. While I was grateful for the opportunity, it was very difficult for me. With each new assignment came the fear that this was going to be the one where they figured out that I couldn’t do the job. H On many assignments, the most challenging part turned out to be the transportation. Over the years, I traveled by horse, car, train, truck, and all sorts of old vehicles. I traveled by mule in Mexico, by ship along the Indian Ocean, by fishing boat in the Sea of Galilee, by moped in Bermuda, by sailboat in Sydney. I flew in helicopters chasing bears in the Arctic. Twice, while flying in light planes, pilots have had to make emergency landings far from any airport. But there were also wonderful experiences. In Africa I traveled by balloon, ultralight aircraft, and elephant. In a rubber raft off the west coast of Mexico, I was suddenly lifted out of the water on the back of a friendly whale. I Wherever I traveled in the world, taking beautiful pictures was always my goal. However, later in my career, I also wanted my pictures to make a real difference in people’s lives. That is why each spring I tour two or three developing countries, shooting portraits of people whose lives are better because of the dedicated workers who care about them. The photos are used in a variety of fund-raising products. The other issue that stole my heart was the environment. With support from the National Geographic Expeditions Council, I have traveled all over the United States to photograph the last one percent of wilderness left here. J I am deeply grateful for my life in photography and the amazing lessons it has taught me. I have learned that women really do hold up half the sky; that language isn’t always necessary, but touch usually is; that all people are not alike, but they do mostly have the same hopes and fears; that judging others does great harm, but listening to them enriches; and that it is impossible to hate a group of people once you get to know one of them as an individual. Which of the following statements would Annie Griffiths most agree with?
Pаssаge #2 The Pоwer оf Phоtogrаphy A In 2014, approximately 1.8 billion photographs were uploaded to the Internet each day. Today, everyone is a subject, and knows it—soon we will be adding "the unguarded moment" to the endangered species list. Yet certain photographs have the power to do more than just document lives—they change lives. They can transport us to unseen worlds. They can profoundly alter the way we see things. And while most of us are taking pictures of our breakfast, there are those fortunate few who take photographs for a living: professional photographers. B People often romanticize the life of a National Geographic photographer. Yes, they travel the world. They are witnesses to all earthly beauty. But that doesn’t mean it’s easy. They must overcome daily obstacles (flight delays, inhospitable1 weather), and are often interrupted by disaster (broken bones, imprisonment). Away from home for many months at a time—missing birthdays, holidays, school plays—they can find themselves in dangerous situations. Or sitting in a tree for a week. Or eating bugs for dinner. C Still, these photographers wouldn’t have it any other way. Their work reflects different passions: human conflict and disappearing cultures, big cats and tiny insects, the desert and the sea. Yet they share similar qualities as well. They each have a hunger for the unknown, the courage to be ignorant, and the wisdom to recognize that, as one says, “the photograph is never taken—it is always given.” D Photographers often sit for days, even weeks, with their subjects, listening to them, learning what it is they have to teach the world, before at last lifting the camera to the eye. They have spent years in the worlds of Sami reindeer herders, Japanese geisha, and New Guinea birds of paradise. Their tremendous commitment can be seen in their photographs. What’s not visible is their sense of responsibility toward those who dared to trust the stranger by opening the door to their quiet world. These photographers view photography as teamwork, a collaborative venture between two souls on either side of the lens. E In a world seemingly numbed by a daily avalanche2 of images, can photographs such as this still tell us something important about ourselves and about the imperiled beauty of the world we live in? Photographers use their cameras as tools of exploration, and as instruments for change. Their images are proof that photography matters—now more than ever. 1 If something is inhospitable, it means the environment is harsh and difficult to live in. 2 An avalanche is a large and overwhelming quantity of something that comes suddenly. Source: Adapted from “Photography at 125,” by Robert Draper: NGM October 2013 Which of the following is a difficulty that is NOT mentioned in the reading?
My Jоurney in Phоtоgrаphs A I got my first reаl job аt age 12, as a waitress. I am convinced that I learned more as a waitress than I ever did in a classroom. It certainly was more interesting. And when I went on to college, it paid for tuition and housing and, eventually, a camera. It allowed me to rent an apartment and feed myself (chicken pot pies, four for a dollar!). But best of all, being a waitress taught me to quickly assess and understand all kinds of people. I learned how to make small talk and how to quickly put people at ease— great training for a journalist. Waiting tables also taught me teamwork and service and humor. For the first eight years, I loved it. For the final two years, I just wanted to be a photographer. B From the moment I picked up a camera, I was hooked. I lost interest in other studies, and all I wanted to do was take pictures for the university newspaper, the Minnesota Daily. The paper at that time was one of the largest in the state and was produced by young journalists who went on to work at every major magazine in the country. In six months, I was able to get a lot of great experience. The week I finished college, I was contacted by the Worthington Daily Globe, a regional daily newspaper in southern Minnesota with a history of excellence in photography. It was wonderfully printed with fantastic photographs. By some miracle I was hired, and the two-year experience that followed was like a master class in photojournalism. C Jim Vance was the top-notch publisher of the Globe. He had very high expectations of all the staff. With little or no instruction from him, writers and photographers were expected to fill the paper with stories that were important to our readers. I didn’t know it at the time, but this independent reporting was perfect training for my future career at National Geographic. D Among the most important things I learned at the Globe was that if you can make friends with a shy Norwegian farmer and be invited to his kitchen table, you can probably do well in any culture on Earth. I worked with a wonderful writer named Paul Gruchow. Together we would search the farming communities for stories. Paul had grown up on a farm himself and lived through personal tragedy, so he was able to project warmth and understanding to anyone he met. Farmers would invite us into their homes and willingly share their personal thoughts with us. From Paul I learned how to be a patient listener as well as the importance of giving each subject time and sincere attention. E It was while I was working at the Globe that I happened to answer the phone one morning. A man’s voice asked, “You a photographer?” When I replied that indeed I was, the voice responded, “This is Bob Gilka. National Geographic. I need a hail damage picture. You guys get a big hailstorm last night?” I overcame my nervousness and said, “Yes, sir.” When he asked if I could take the picture for him, I again said, “Yes, sir.” Thus began one of the most important relationships of my life, with the legendary Director of Photography at National Geographic, Bob Gilka. F Bob was always looking for talented photographers to join his team, and he was not easily impressed. As he used to say, “I am knee-deep in talent, but only ankle-deep in ideas. I want people with ideas!” He was a man of very few words, so every word was heard. Praise from Bob meant as much to most photographers as a Pulitzer Prize. G My little picture of hail damage in southern Minnesota was well received, and a year later, I was working for Bob. I was the youngest photographer working for National Geographic when I arrived in 1978, and I spent at least a decade just trying not to make mistakes. While I was grateful for the opportunity, it was very difficult for me. With each new assignment came the fear that this was going to be the one where they figured out that I couldn’t do the job. H On many assignments, the most challenging part turned out to be the transportation. Over the years, I traveled by horse, car, train, truck, and all sorts of old vehicles. I traveled by mule in Mexico, by ship along the Indian Ocean, by fishing boat in the Sea of Galilee, by moped in Bermuda, by sailboat in Sydney. I flew in helicopters chasing bears in the Arctic. Twice, while flying in light planes, pilots have had to make emergency landings far from any airport. But there were also wonderful experiences. In Africa I traveled by balloon, ultralight aircraft, and elephant. In a rubber raft off the west coast of Mexico, I was suddenly lifted out of the water on the back of a friendly whale. I Wherever I traveled in the world, taking beautiful pictures was always my goal. However, later in my career, I also wanted my pictures to make a real difference in people’s lives. That is why each spring I tour two or three developing countries, shooting portraits of people whose lives are better because of the dedicated workers who care about them. The photos are used in a variety of fund-raising products. The other issue that stole my heart was the environment. With support from the National Geographic Expeditions Council, I have traveled all over the United States to photograph the last one percent of wilderness left here. J I am deeply grateful for my life in photography and the amazing lessons it has taught me. I have learned that women really do hold up half the sky; that language isn’t always necessary, but touch usually is; that all people are not alike, but they do mostly have the same hopes and fears; that judging others does great harm, but listening to them enriches; and that it is impossible to hate a group of people once you get to know one of them as an individual. In paragraph A sentence 3, it refers to ____.
Vоcаbulаry Units 1A аnd 1B Instructiоns: Match each wоrd with its definition.
My Jоurney in Phоtоgrаphs A I got my first reаl job аt age 12, as a waitress. I am convinced that I learned more as a waitress than I ever did in a classroom. It certainly was more interesting. And when I went on to college, it paid for tuition and housing and, eventually, a camera. It allowed me to rent an apartment and feed myself (chicken pot pies, four for a dollar!). But best of all, being a waitress taught me to quickly assess and understand all kinds of people. I learned how to make small talk and how to quickly put people at ease— great training for a journalist. Waiting tables also taught me teamwork and service and humor. For the first eight years, I loved it. For the final two years, I just wanted to be a photographer. B From the moment I picked up a camera, I was hooked. I lost interest in other studies, and all I wanted to do was take pictures for the university newspaper, the Minnesota Daily. The paper at that time was one of the largest in the state and was produced by young journalists who went on to work at every major magazine in the country. In six months, I was able to get a lot of great experience. The week I finished college, I was contacted by the Worthington Daily Globe, a regional daily newspaper in southern Minnesota with a history of excellence in photography. It was wonderfully printed with fantastic photographs. By some miracle I was hired, and the two-year experience that followed was like a master class in photojournalism. C Jim Vance was the top-notch publisher of the Globe. He had very high expectations of all the staff. With little or no instruction from him, writers and photographers were expected to fill the paper with stories that were important to our readers. I didn’t know it at the time, but this independent reporting was perfect training for my future career at National Geographic. D Among the most important things I learned at the Globe was that if you can make friends with a shy Norwegian farmer and be invited to his kitchen table, you can probably do well in any culture on Earth. I worked with a wonderful writer named Paul Gruchow. Together we would search the farming communities for stories. Paul had grown up on a farm himself and lived through personal tragedy, so he was able to project warmth and understanding to anyone he met. Farmers would invite us into their homes and willingly share their personal thoughts with us. From Paul I learned how to be a patient listener as well as the importance of giving each subject time and sincere attention. E It was while I was working at the Globe that I happened to answer the phone one morning. A man’s voice asked, “You a photographer?” When I replied that indeed I was, the voice responded, “This is Bob Gilka. National Geographic. I need a hail damage picture. You guys get a big hailstorm last night?” I overcame my nervousness and said, “Yes, sir.” When he asked if I could take the picture for him, I again said, “Yes, sir.” Thus began one of the most important relationships of my life, with the legendary Director of Photography at National Geographic, Bob Gilka. F Bob was always looking for talented photographers to join his team, and he was not easily impressed. As he used to say, “I am knee-deep in talent, but only ankle-deep in ideas. I want people with ideas!” He was a man of very few words, so every word was heard. Praise from Bob meant as much to most photographers as a Pulitzer Prize. G My little picture of hail damage in southern Minnesota was well received, and a year later, I was working for Bob. I was the youngest photographer working for National Geographic when I arrived in 1978, and I spent at least a decade just trying not to make mistakes. While I was grateful for the opportunity, it was very difficult for me. With each new assignment came the fear that this was going to be the one where they figured out that I couldn’t do the job. H On many assignments, the most challenging part turned out to be the transportation. Over the years, I traveled by horse, car, train, truck, and all sorts of old vehicles. I traveled by mule in Mexico, by ship along the Indian Ocean, by fishing boat in the Sea of Galilee, by moped in Bermuda, by sailboat in Sydney. I flew in helicopters chasing bears in the Arctic. Twice, while flying in light planes, pilots have had to make emergency landings far from any airport. But there were also wonderful experiences. In Africa I traveled by balloon, ultralight aircraft, and elephant. In a rubber raft off the west coast of Mexico, I was suddenly lifted out of the water on the back of a friendly whale. I Wherever I traveled in the world, taking beautiful pictures was always my goal. However, later in my career, I also wanted my pictures to make a real difference in people’s lives. That is why each spring I tour two or three developing countries, shooting portraits of people whose lives are better because of the dedicated workers who care about them. The photos are used in a variety of fund-raising products. The other issue that stole my heart was the environment. With support from the National Geographic Expeditions Council, I have traveled all over the United States to photograph the last one percent of wilderness left here. J I am deeply grateful for my life in photography and the amazing lessons it has taught me. I have learned that women really do hold up half the sky; that language isn’t always necessary, but touch usually is; that all people are not alike, but they do mostly have the same hopes and fears; that judging others does great harm, but listening to them enriches; and that it is impossible to hate a group of people once you get to know one of them as an individual. According to the passage, is the following statement true or false? Annie Griffiths takes photographs of people, not of the environment.
The Pоwer оf Phоtogrаphy A In 2014, аpproximаtely 1.8 billion photographs were uploaded to the Internet each day. Today, everyone is a subject, and knows it—soon we will be adding "the unguarded moment" to the endangered species list. Yet certain photographs have the power to do more than just document lives—they change lives. They can transport us to unseen worlds. They can profoundly alter the way we see things. And while most of us are taking pictures of our breakfast, there are those fortunate few who take photographs for a living: professional photographers. B People often romanticize the life of a National Geographic photographer. Yes, they travel the world. They are witnesses to all earthly beauty. But that doesn’t mean it’s easy. They must overcome daily obstacles (flight delays, inhospitable weather), and are often interrupted by disaster (broken bones, imprisonment). Away from home for many months at a time—missing birthdays, holidays, school plays—they can find themselves in dangerous situations. Or sitting in a tree for a week. Or eating bugs for dinner. C Still, these photographers wouldn’t have it any other way. Their work reflects different passions: human conflict and disappearing cultures, big cats and tiny insects, the desert and the sea. Yet they share similar qualities as well. They each have a hunger for the unknown, the courage to be ignorant, and the wisdom to recognize that, as one says, “the photograph is never taken—it is always given.” D Photographers often sit for days, even weeks, with their subjects, listening to them, learning what it is they have to teach the world, before at last lifting the camera to the eye. They have spent years in the worlds of Sami reindeer herders, Japanese geisha, and New Guinea birds of paradise. Their tremendous commitment can be seen in their photographs. What’s not visible is their sense of responsibility toward those who dared to trust the stranger by opening the door to their quiet world. These photographers view photography as teamwork, a collaborative venture between two souls on either side of the lens. E In a world seemingly numbed by a daily avalanche of images, can photographs such as this still tell us something important about ourselves and about the imperiled beauty of the world we live in? Photographers use their cameras as tools of exploration, and as instruments for change. Their images are proof that photography matters—now more than ever. This reading is mainly about ____.
Instructiоns: Use the wоrds belоw to complete the missing word in eаch sentence. Use the exаct word forms below to fill in the blаnks. Be sure to spell the answers correctly or they will be marked incorrect. Also, do not use capital letters or put a period after an answer. democracy embrace instantly obsessed profound He is [1] with photography, and spends a lot of his time taking photographs. The cell phone has had a(n) [2] impact on the way we communicate. Now, many people text more than they talk. The Internet makes it possible to find information [3]. You can easily type in a question and find an answer. A(n) [4] is a form of government in which people choose their rulers by voting for them in elections. He decided to see the change in management as a new opportunity and to [5] it.